摘要：這章介紹創(chuàng)意產(chǎn)業(yè)中文化、經(jīng)濟與政策之間的關(guān)系（就本文的目的，假設(shè)等同于文化產(chǎn)業(yè)），以及他們在亞洲的表現(xiàn)。尋址這三個問題中的任何一個本身就是一個挑戰(zhàn)，但三個問題一起處理更是復(fù)雜。之前的“創(chuàng)意經(jīng)濟”學(xué)者就發(fā)現(xiàn)它的工作不同于傳統(tǒng)經(jīng)濟。研究文化是了解創(chuàng)意產(chǎn)業(yè)發(fā)展相當(dāng)重要的途徑，但是文化如何形成國家競爭優(yōu)勢卻不清楚。政策也是一樣的，所以三者的討論是相當(dāng)復(fù)雜的。我已經(jīng)說過，三者對創(chuàng)意產(chǎn)業(yè)的描述至關(guān)重要，正如我將在文章中闡述。
本文試圖解決三者的關(guān)系，首先以產(chǎn)品創(chuàng)新為目標(biāo)的工業(yè)組織，接下來是創(chuàng)意文化和政策。我首先通過一個特定部門——電子游戲產(chǎn)業(yè)——亞洲投資的重點產(chǎn)業(yè)。為了利于比較，我還會把有限的焦點放在動漫部門。首先，我會簡要概述一下在美國出現(xiàn)的電子游戲創(chuàng)意產(chǎn)品，緊接著亞洲模式的比較檢驗。我很想知道亞洲的私人和企業(yè)的創(chuàng)造力水平是否相同。在亞洲，更多地討論中國網(wǎng)絡(luò)游戲產(chǎn)業(yè)和菲律賓的動漫產(chǎn)業(yè)，但是相關(guān)觀點還是來自于日本、韓國和新加坡的相關(guān)知識和文獻回顧，以及證實這些觀點的訪談。

Introduction
This chapter examines the relationship between culture, economics and policy within the creative industries (which for the purposes of this paper, are assumed to be equivalent to the cultural industries), and their manifestation in Asia. Addressing any one of these three issues is a challenge in itself, but addressing all three of them together raises the complexity even further. Early writers on the “creative economy” have noted how it works differently from the traditional economy (Florida 2002; Howkins 2001).1 Culture is vitally important to understanding how creative industries develop, but the role of culture in shaping national competitive advantage is not that clear. The same can be said for policy, and a discussion of the triad can be quite convoluted. Having said that, all three levels are still very relevant to the proper description of a creative industry – as I will show in this chapter. This paper attempts to address this triad of issues primarily with a productionand-innovation-oriented view of industrial organisation, bringing in creativity, culture and policy where possible. I shall do this primarily through the lens of one sector in particular – the video games industry – in which Asia has been investing heavily lately, and in which Japan has been an early leader. I will also provide a limited focus on the animation sector for comparative purposes. I will first provide a summary of how creative production in video games occurs in the US, followed by an examination of how